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For the theatre one needs long arms it is better to have them too long than too short. An artiste with short arms can never, never make a fine gesture.
Roland Barthes
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Roland Barthes
Age: 64 †
Born: 1915
Born: November 12
Died: 1980
Died: March 25
Diarist
Essayist
Linguist
Literary Critic
Literary Scholar
Literary Theorist
Mythographer
Non-Fiction Writer
Philosopher
Screenwriter
Roland GĂ©rard Barthes
Needs
Long
Gesture
Make
Gestures
Never
Theatre
Short
Arms
Fine
Better
More quotes by Roland Barthes
I call the discourse of power any discourse that engenders blame, hence guilt, in its recipient.
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The Text is not a definitive object.
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A light without shadow generates an emotion without reserve.
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The gesture of the amorous embrace seems to fulfill, for a time, the subject's dream of total union with the loved being: The longing for consummation with the other.
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Language is neither reactionary nor progressive it is quite simply fascist for fascism does not prevent speech, it compels speech.
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Cameras, in short, were clocks for seeing, and perhaps in me someone very old still hears in the photographic mechanism the living sound of the wood.
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Why is it better to last than to burn?
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The birth of the reader must be at the cost of the death of the Author.
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It must always be considered as though spoken by a character in a novel
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Literature is the question minus the answer.
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The art of living has no history: it does not evolve: the pleasure which vanishes vanishes for good, there is no substitute for it. Other pleasures come, which replace nothing. No progress in pleasures, nothing but mutations.
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Literature is that which he can not read without pain, without choking on truth.
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As Spectator I wanted to explore photography not as a question (a theme) but as a wound.
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I want to be both pathetic and admirable, I want to be at the same time a child and an adult. Thereby I gamble, I take a risk: for it is always possible that the other will simply ask no question whatever about these unaccustomed glasses that the other will see, in the fact, no sign.
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Each of us has his own rhythm of suffering.
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What love lays bare in me is energy.
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In front of the photograph of my mother as a child, I tell myself: she is going to die: I shudder, like winnicott's psychotic patient, over a catastrophe which has already occurred. Whether or not the subject is already dead, every photograph is this catastrophe.
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I love you is unsubtle. It removes explanations, facilities, degrees, scruples.
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When we define the Photograph as a motionless image, this does not mean only that the figures it represents do not move it means that they do not (i)emerge(i), do not (i)leave(i): they are anesthetized and fastened down, like butterflies.
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